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Spatiality and its challenges for commemorative practices

The entanglement of space, memory, and contemporary space-users presents a compelling interplay, particularly in places “infused” with history. At sites of memory tied to experiences of violence and death, spatiality not only anchors the material traces of past events but also functions as a locus for reflection and education. Such spaces are simultaneously shaped by historical narratives curated through institutional practices and act as “producers” of public historical awareness and sensibility.

Henri Lefebvre’s simple yet profound assertion that spaces are produced invites us to recognize that their users are not mere spectators but active agents of transformation. In this context, space becomes a vital element in the process of “Doing History,” engaging a diverse range of practitioners—artists, architects, curators, and visitors—who, far from being passive, actively participate in shaping the narratives and experiences tied to these spaces.

 

“Doing space” and “doing history”

Memorial sites not only serve as physical reminders of past events but also shape how visitors understand the history associated with them. This applies to both newly recognized sites and those that have been preserved for a long time. The impression made on the visitors differs, when one enters well-cared areal and abandoned area telling the story about victimhood and assault. Space, including that associated with places marked by a history of violence and power relations, should be considered as an active, socio-spatial process, less than as an abstract term. Following Sabine Hansmann, it is created in continuous activity of various human and non-human factors (“doing space”), characterised by multilevelled negotiations. The perception of the space influences the interpretation of the narrative conveyed and, consequently, its internalization. The utilitarian elements of space, introduced as security measures or elements of tourist infrastructure can become elements of exclusion and inclusion for specific individuals or entire groups. This, however, stays on the contrary to the main mission of historic sites, where education about the past, inclusiveness and openness to intergenerational dialogue play a central role. How to find balance between security, coherence and inclusivity? The example from Munich explains some challenges and solutions to blur the contrasts.

 

Inclusivity

Point of personal control outside the entrance to the NS Doku, photo by Izabela Paszko, October 2024

Point of personal control outside the entrance to the NS Doku, photo by Izabela Paszko, October 2024

On 5 September 2024, 52 years after the terrorist attack during the Olympic Games in Munich, an attempted attack took place in the capital of Bavaria. An 18-year-old gunman, armed with a rifle, opened fire on the Israeli Consulate and a NS Documentation Centre (NS Doku) in the Munich area of Maxvorstadt. Two shots hit the glass façade of the NS Doku building. The police brought the situation under control and the attacker was deadly wounded in a fire exchange with police officers. After the attempted attack, highly probable motivated by the perpetrator’s radicalisation by Islamist ideology, the building of the Documentation Centre remained closed for the next few days. When it reopened, additional points of personal control and security infrastructure were set up at the revolving door serving as the main entrance to the building.

Part of the “Open Doors” project: a wooden platform with a seating area, photo by Izabela Paszko, October 2024

Part of the “Open Doors” project: a wooden platform with a seating area, photo by Izabela Paszko, October 2024

It is interesting to note that visitors who visited the site for the first time, already after the security measures had been in place and without knowledge of the events of early September, were not surprised by these additional restrictions on accessibility. Visitors to museums and art galleries have become more familiar with the security measures that can be found around the world, especially in places that can evoke polarised feelings. Yet some changes towards making space inside and outside the NS Doku more welcoming can be seen. The project “Open Doors”, fosters establishing new spaces for dialogue and getting together within premises of the NS Doku. In summer of 2024, the wooden construction emerged at the Max Mannheimer Square, just next to the security point. It made the empty square more welcoming and introduced some interesting factures to white concrete surroundings.

 

Narrative about the difficult past in open space

The space and its components can include or exclude particular groups of audience. The chosen location of a historical exhibition is also orientated towards reaching a specific group of visitors and its content is adapted to their demands and expectations. An excellent example of inclusion and interaction with an outdoor exhibition is the educational installation titled “Das Labyrinth – 100 Jahre Hitlers Festungshaft” located in the city car park in Landsberg am Lech, about 300 meters from the prison where Hitler was held in 1924. The exhibition has a decidedly inclusive character, with an orientation towards a young, mostly casual, audience. Likewise, the choice to visit the labyrinth may be random; the installation itself has also been designed in thematic rather than chronological order, which invites further exploration of the installation.

A walk-in outdoor exhibition installation "The Labyrinth – 100 years of Hitler’s imprisonment" in Landsberg am Lech, photos by Izabela Paszko, October 2024

A walk-in outdoor exhibition installation “The Labyrinth – 100 years of Hitler’s imprisonment” in Landsberg am Lech, photos by Izabela Paszko, October 2024

 

Remembering the past in unusual settings

The area of the former labour camp in Munich-Neuaubing with still existing barracks used as i.a. artists' ateliers, photos by Izabela Paszko, October 2024

The area of the former labour camp in Munich-Neuaubing with still existing barracks used as i.a. artists’ ateliers, photos by Izabela Paszko, October 2024

An interesting example of the negotiation of space between commemoration and contemporary users is the site of the former forced labour camp in Neuaubing. It is the only site of its kind in Munich, out of the 400 that existed during the National Socialist period, where the original buildings have been preserved: 8 of the 9 barracks built up to the end of the war. Since the 1970s, the barracks have been used by artists and musicians, who since 2007 have been associated in a non-profit organisation: Freie Ateliers und Werkstätten Ehrenbürgstrasse e.V. (also known as “FAuWE” for short).

In addition, a nursery and kindergarten have been operating in the former barrack building since 1983, and the building itself has been owned by the parent association “Die Ehrenbürger e.V.” since 2010. In 2015, the city of Munich acquired this site. One of the barracks came under the care of NS Doku, which creates there a place of learning and remembrance at the site. Following the revitalisation process, a visitor centre will emerge and all barracks and the surrounding area will be renovated. The opening of the now-curated memory place is planned for 2025. An interesting issue in the context of Neuaubing is the future local dynamics involving visitors, workshop and nursery users and local residents.

The area of the former labour camp in Munich-Neuaubing with still existing barracks used as i.a. artists' ateliers, photos by Izabela Paszko, October 2024

The area of the former labour camp in Munich-Neuaubing with still existing barracks used as i.a. artists’ ateliers, photos by Izabela Paszko, October 2024

 

Beyond abstract categories

Memory places represent dynamic spaces shaped by the people who interact with them. When a site transitions from being a scene of violence to a place of witness, it undergoes both functional and symbolic transformations. This shift introduces practical elements while also opens up new interpretative layers. In this way, the processes of “doing space” and “doing history” unfold together. Both the concepts of space and history have no clear demarcations. The intersection of history and space is ultimately embodied in the place of memory and, more precisely, in its users. This article explores how memorials’ inclusivity goes beyond just physical accessibility—it extends to the narratives they tell. By presenting history through the lens of shared human experience, memorials can foster a deeper connection with the wider public. Ultimately, by combining space, inclusivity, and active participation, we can move past abstract notions of history and space, making their impact tangible and meaningful.

Izabela Paszko

Sources

https://www.br.de/nachrichten/bayern/versuchter-terroranschlag-in-muenchen-was-bisher-bekannt-ist,UNUaQoH

https://www.merkur.de/lokales/landsberg-kreisbote/100-jahre-hitlers-haft-das-labyrinth-in-landsberg-eroeffnet-93288781.html

Hansmann, Sabine: “Dismantling of Exhibitions”. Museum and Society 22 (1), 2024, 94–109.


OpenEdition schlägt Ihnen vor, diesen Beitrag wie folgt zu zitieren:
Gastautor/in (30. Januar 2025). Spatiality and its challenges for commemorative practices. doing | public | history. Abgerufen am 28. April 2025 von https://doi.org/10.58079/137na


2 Antworten

  1. Tadek sagt:

    What a fascinating read! Your reference to “doing space” reminded me of Doreen Massey’s approach to space as a product of the interactions between people and the environment and a process rather than a static concept (“relational geography”). Would her ideas apply to your case studies?

    • Izabela sagt:

      Dear Tadek,
      Thank you for your insightful comment on my blog post. Indeed, works of Doreen Massey are also relevant in the case of studies on memory sites and commemorative practices. I really like your interdisciplinary approach, which I also strive to implement in my research.

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